The latest album by Virginia Tech's Juxtaposition is a very pensive affair. Retrospect makes you think. It's warm and familiar while also a bit on the mysterious side. The overall quality and output is slick, almost like they are trying to package themselves as an alt-R&B boyband, and I'm loving it. There is a definite old-school charm that you will either be totally smitten with or consider too old-fashioned (though not outdated). Honestly, it feels like a concept album, since it is so thematically blended without being overt. There is a deliberate feel to both the selection of songs and the placement of tracks. There was some clear thought put into this.

As I've mentioned previously, the "juxtasound" is a sound of exuberance that is produced from the heart. In a perfect world, it is endearing, but when overdone, it is ingratiating. Thankfully, we never reach the negative extreme with this album. The little quirks and idiosyncrasies throughout bring a much-appreciated human quality to this nearly perfectly produced technical achievement. Like the style change as the bridge in Little Lies. It was already going to be looked at favorably because of my own memories of singing this song in college, but the tempo and stylistic changes at the bridge just sent it to a whole new level. The song is the tune that comes across as an intentional danceable track on the album, and the inclusion of what feels like a bossa nova flair was just the right touch to kick it into a higher gear.

The album is very simplistic and straightforward, which is an appropriate approach to the entire project. There is a crackling energy even behind the softest of ballads. Gammon Productions outdid themselves in creating this soundscape. The arranging is top-notch across the board, and considering each of the seven tracks was arranged by a different person speaks to the uniformity of talent and understanding of both the capabilities of the group and how to produce that juxtasound. I'm intrigued by intricate moments on each of the tracks (especially the aforementioned Little Lies, penned by Wilson Smith). And Dijuan Gilbert's take on Arcade made me look up the original. What he is able to replicate without duplicating is to be commended.

Welp, I got part of what I asked for in my review of Faking It: "If this is the group faking it, I can only imagine with the next recording (possibly called Real Deal?) will regale us with as an audience of eager listeners." While this release isn't called that title, Retrospect is a definite continuation of the excellent foundation the group laid down. Keep it up, guys.

I've had the pleasure of reviewing past Juxtaposition releases, which I've classified as "slick R&B". Retrospect is different. The first track, For Life (Take You Out, Treat You Right), opens with birds chirping before a pizzazzy, wholesome bop unfolds. I'm certain I've never described any Juxtaposition piece as "wholesome", but here we are, and it's quite lovely.

Also quite lovely: a group that excels in natural crescendos and volume management in general. Absolutely great fundamentals stitch Retrospect together, and in an era where the studio usually takes care of or overrides dynamics, the extra effort is very noticeable. Great blend, sections who are listening to each other, and bursts of synchronized style in the backgrounds are also here and create ear candy for the listener. I made note of the high degree of musical proficiency in each and every track, so you'll have to listen to the full release for examples. It feels like the production took one giant step to the left with outstretched arms to say, "Look what these fellas can do without me!"

A few songs, Little Lies and Arcade, were added to my current playlist before the first chorus hit. Little Lies is a personality-filled romp, with a playful arrangement by Wilson Smith that gives the singers plenty to showcase. In contrast, Arcade is hauntingly beautiful, with each vocal section giving thought to delivering both warm delicacy and hard impact through vowel shaping. The sections are nearly leads themselves, adding such a lush texture with so much to appreciate. Lots of work in rehearsals to pull off these complexities.

In a full circle moment, Retrospect closes with more bird sounds. Overall, it's more tender and thoughtfully designed than previous eras of Juxtaposition, fitting for a group's anniversary. See what you like, because you'll certainly fall hard for something.

Throughout the reviews I've penned, I often said that the top albums don't ask for the listener's attention; they demand it. Retrospect is more influenced by R&B vibes, which is often by nature more laid back. At first blush, this album can easily fade into the background. However, the more I've listened to Retrospect, the more I've found it to be filled with so many intricacies and flirtations that it starts to tickle all the pleasure centers in my brain.

The biggest win for me is the soloists. There are six across seven tracks, and each of them is absolutely stellar. Every single soloist has tremendous control of their voice. I think Colin Richter on Sunlight might be my favorite. This song features a soundscape that ebbs and flows wonderfully. Richter is able to move with it, going between powerful and slightly gritty and more smooth and glossy. This cool duality (a juxtaposition, if you will) between vocal styles plays wonderfully. This track is five and a half minutes long. It's so easy for long songs to become dull and lifeless, but I'm still intrigued by the end. The motion and change make it possible to remain intrigued.

The other big win is the subtly brilliant arranging. There are so many fascinating rhythmic patterns interwoven across the album. Arcade showcases the abilities of the group really well. This piece is absolutely stuffed with really colorful chords. However, it's not just the group's ability to navigate these chords, it's how the group utilizes them. Dijuan Gilbert's arrangement for Arcade has moments that will start simple and then quickly shift into bursts of color. Those are the moments that cause such excitement. The track becomes almost like a dance with the listener, keeping them moving and gliding through the story. At the top is Tristian Floyd's solo, which floats between the empty spaces and tells the full story. It's incredibly well done.

Retrospect may not be immediately flashy, but it certainly does sparkle. This is a group that took the time to find their individual and group strengths and played to them. It's an album that just flows so wonderfully. It's not an album that demands the listener's attention, but it is one that has held mine so incredibly well. Take a listen and see if it holds yours, too.